Not bad for a B-movie alien invasion dystopian film. That was a nice surprise, as I was all prepared to endure a bunch of cliches and basic character archetypes. However Occupation: Rainfall delivers a moderately decent movie experience. There were some obvious timing issues towards the film’s conclusion, but we’ll get into that later. Speaking of surprises, I was surprised to discover that this film is actually a direct sequel of a film that was released in 2018. Granted, there were some changes, such as Jet Tranter replacing Stephanie Jacobson as Amelia Chambers, or Amelia the human as she is referred to more frequently than by her real name. The film also features the addition of The Originals’ Daniel Gilles and Jason Isaac as a hilarious character. All in all, minus that timing issue I mentioned earlier, Occupation Rainfall delivered a surprising and overall enjoyable experience.
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What a great time it was to be a teen in the late 1970’s. No, I’m not referring to disco music. It was a great time to go to the movies. It was the culmination of the perfect date, and Hollywood was riding the beginning of a trend that remains alive and healthy today. I’m talking, of course, about the slasher film. You could argue that Hitchcock started the ball rolling in 1961 with Psycho, but it would be decades before that film would find its true audience and plethora of imitators. Although The Texas Chainsaw Massacre and Halloween came before Friday The 13^th, can it be argued that any horror film franchise is as widely known? The truth is that even the man behind the film, Sean Cunningham, never really knew what it was that he had. It was never his intent to follow the film with a barrage of sequels. He also scoffed at the idea that Jason could become the centerpiece for future films.
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When I first saw Nashville, it was back in my days of working at a video store in the 90’s, and I was consuming a ridiculous amount of films a week. For many, it’s considered a classic and one of the better films that Robert Altman put out. Before re-watching the film for this review, I couldn’t remember all that much about the film aside from it having a lot of music in it and there being something involving a political campaign. I’m a fan of Robert Altman. Personally, Short Cuts and The Player are my favorite films by him, but I can appreciate that his way of storytelling paved the way for one of my favorite writer/directors Paul Thomas Anderson. Just watching Boogie Nights and Magnolia you can see the influence of Altman’s work from the script to the way they are filmed.  Now that I’m older, perhaps it was time that I revisited this film. After all, for many it’s considered a classic. Perhaps this time it could make a greater impression on me.
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“The time for apologies is behind us.”

While the dubbing of this film leaves something to be desired at times, all in all I’d categorize this as a moderately entertaining thriller. Tailgate can serve as a cautionary tale for us all regarding being careful who you cut off in traffic. You never know; that person could very well be a homicidal maniac with a penchant for using pesticide on his victims. Or at least that is what the killer in this film was all about. Granted, this antagonist doesn’t quite rise to the level of Michael Myers or say Candyman (you got me, I chose those two characters because they both have movies due out in the immediate future), there is something to be said for a killer who believes that he has the moral high ground. And to think all of this could have been resolved with a simple and well-timed apology.
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“Once the world was full of wonders, but it belongs to the humans now. We, creatures, have all but disappeared. Daemons … vampires … witches … hiding in plain sight. Ill at ease even with each other. But, as my father used to say, in every ending, there is a new beginning. It begins with absence and desire. It begins with blood and fear. It begins with A Discovery Of Witches.”

And that’s how it all starts. The ambitious series from Sky is based upon The All Souls Trilogy novels by Deborah Harkness. In the first season of eight episodes, we are introduced to Diana Bishop, played by Teresa Palmer. She a witch who is living in a world where there are three species of creatures: witches, vampires, and daemons (Demons). Diana ‘s parents were killed when she was young because of their witchcraft, at least that’s what she’s been brought up to believe by her Aunt Sarah (Kingston) and her lover “Auntie” Em (Pettiford). No, we’re not in Kansas anymore. Notice no one is singing Carry On Wayward Son. This isn’t Supernatural, after all.
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1951 was a year that spawned some major classic films. There was An American In Paris, A Streetcar Named Desire, The African Queen, and A Place In The Sun. Of the four mentioned, the one I hadn’t seen and honestly was oblivious to was A Place In The Sun. While I do appreciate many classic films, I don’t have an answer for my ignorance of the film, and with a stacked cast of Montgomery Clift, Elizabeth Taylor, Shelly Winters, and Raymond Burr, I was more than happy to check out this film and review it on its 70^th anniversary. I went into this film knowing as little as possible, only knowing about the cast and the director George Stevens, a man with an impressive resume as a director as well as a cinematographer. This only flummoxed me further about how this film had managed to escape me for so long.
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“By 2014, hundreds of young women had left Europe to join ISIS. Their journeys began on social media platforms where they found new friends and chose new names.”

Based on the non-fiction novel, In The Skin of a Jihadist, this film tells the story about one reporters journey to create a groundbreaking story and how she nearly lost herself in the process. Valene Kane (The Fall) plays Amy Whittaker, a freelance reporter struggling to make ends meet when she decides to investigate the recruitment of young European women by ISIS. As part of her investigation, Amy creates a fake Facebook profile of a young woman who has recently converted to Islam. Before long, she is contacted by Bilel (Shazad Latif, Star Trek: Discovery), an ISIS fighter from Syria.
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“I saw this movie.”

When the film Stargate was released in 1994, I had very high hopes for the movie. The concept was rather brilliant, and I anticipated a kind of Star Trek without the ship. Roland Emmerich and Dean Devlin hit it out of the park with Independence Day two years later, but I was sadly very disappointed in Stargate. I loved the wonderful mythology that combined ancient history and aliens. The concept had so much promise but was bogged down in awkward pacing and some of the worst storytelling I’ve seen in a big-budget science fiction film. So when the television series debuted on Showtime in 1997, I didn’t even bother to check it out. I didn’t pay any attention. If I had, I might have given it a try because of the involvement of Richard Dean Anderson, because I loved him in MacGyver, but I intentionally avoided watching the show.
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“How many friends did you have growing up? I just had one.”

A member of the cast has described this film as Mean Girls meets Final Destination. I don’t think I could come up with a better summation of the film if I tried. As I watched, I toyed with the idea that the film evoked Kevin Williamson-like nostalgia, but that was the best I came up with. The film is billed as a horror film, but of course there are elements that cause me to see it as more of a black comedy slasher film, like Happy Death Day. OK, that’s enough comparing it to other films; let’s talk about what Séance is. In a nutshell, Séance was a surprise for me.
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“Creeks lead to rivers. Rivers lead to towns.”

With a little more character development, Those Who Wish Me Dead would have been a really intriguing story. The film had a winning recipe: a script written by the man who gave us Hell Or High Water/Sicario (Taylor Sheridan), a cast that include talent like Angelina Jolie, Jon Bernthal, Nicholas Hoult, and Aidan Gillen, as well as a rifle-toting pregnant woman on horseback. What more could you ask for? If only adequate time had been spent fleshing the characters out and answering some of the questions that were posed during the film’s runtime. As it stands, the film never gets past the initial intrigue phase, because despite all the things the film did have, it’s what the film was missing that defines it.
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